Musicking Shakespeare: A Conflict of Theatres

Daniel Albright

doi:10.1017/9781580466929

Demonstrates how Purcell, Berlioz, Verdi, and Britten, responding to Shakespeare's juxtaposition of contrasting theatrical styles, devised music dramas that call opera into question.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vi
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List of Illustrations
pp vii-x
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Introduction
pp 1-30
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Part 1 - Romeo and Juliet
pp 31-32
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Introduction to Part 1
pp 33-34
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Chapter One - The Veronese Social Code
pp 35-44
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Chapter Two - The Code of Love
pp 45-54
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Chapter Three - Love against Language
pp 55-62
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Chapter Four - The Afterlife of Romeo and Juliet
pp 63-68
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Chapter Five - La lance branlée: French Opinions of Shakespeare
pp 69-73
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Chapter Six - Berlioz in the Plural
pp 74-79
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Chapter Seven - Roméo et Juliette: Introduction
pp 80-90
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Chapter Eight - Roméo et Juliette: The Symphony
pp 91-106
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Chapter Nine - Roméo et Juliette: The Opera Resumes
pp 107-114
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Part 2 - Macbeth
pp 115-116
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Chapter Ten - Shakespeare's Random
pp 117-120
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Chapter Eleven - Magic as Theft
pp 121-122
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Chapter Twelve - Prophesying
pp 123-125
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Chapter Thirteen - Squinting at Consequences
pp 126-128
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Chapter Fourteen - Macbeth's Children
pp 129-132
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Chapter Fifteen - Macbeth as an Actor
pp 133-136
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Chapter Sixteen - Two Theatres
pp 137-141
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Chapter Seventeen - Witches Amok
pp 142-160
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Chapter Eighteen - Sortileges of Speech
pp 161-166
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Chapter Nineteen - Lady Macbeth as Witch
pp 167-175
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Chapter Twenty - Time Slips
pp 176-181
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Chapter Twenty-One - La Sonnambula
pp 182-192
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Part 3 - A Midsummer Night's Dream
pp 193-194
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Chapter Twenty-Two - Cosmicomedy
pp 195-204
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Musicking Shakespeare

A Conflict of Theatres

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